赴日僧是古代中日文化交流中极为特殊的群体。他们在中国文学的对外传播中发挥了重要作用，同时也推动了日本五山汉文学的发展。赴日僧诗文是中国古代文学的重要组成部分，是宋元僧诗研究不可缺席的存在。然而，由于相关语录、诗文外集等文献在国内多散佚不存，截至当下，学界对宋元赴日僧的研究仍不够充分，对赴日僧诗文的研究，更是近乎阙如。宋元赴日僧的著作在日本大量留存，通过这些文献，一方面可以研究赴日僧群体的诗文创作、诗学思想及其诗文在日本的传播；另一方面，基于禅僧诗文的日记化特征，能够还原赴日宋元禅僧的生活世界，并从物质层面考察中日文化交流。

 在十三世纪中叶到十四世纪中叶的近百年间，有文献可考的宋元赴日禅僧近三十人，其中十二人存有语录或诗文别集。本文在对赴日僧人数考证的基础上，围绕这十二位禅僧现存的住山语录、诗文别集等，从诗文版本、诗文创作、诗文内容、诗学思想与文学传播等方面对宋元赴日禅僧诗文进行多方面的考察。

另外，不少赴日僧的语录、诗文集在赴日前就已完成辑录、刊刻，但遗憾的是中国文献中鲜有记载。通过对日本现存宋元赴日僧诗文别集进行调查，可以发现，赴日前在江南禅林创作的诗文别集传播至日本后，被多次翻刻、传抄，在日本禅林得到了广泛的阅读与传播。同时，这些禅僧在赴日后，仍旧大力创作诗文，留下了大量作品，这些作品同样受到日本禅林的重视，数次被传抄、刊刻。宋元赴日僧文献在日本保存颇为完整，版本形式多样，不难看出日本方面对这些文献的珍视。日本的僧人、文人还刊刻了许多住山语录，一些禅僧虽无诗文别集传世，但其诗文与语录、上堂法语、小佛事等通过住山语录，得以完好保存至今。

全面考察赴日僧的诗文别集，可以发现赴日僧诗文创作丰富多样。有宗教色彩浓厚的偈颂诗文；有与中世贵族、武士、学士等世俗人物的诗文往来；最具文学特色的是记录自身生活世界和情感世界的诗文，通过对赴日僧诗文内容的考察，亦不难看出赴日僧诗文包蕴着丰富的思想内容。一方面，宋元赴日僧把唐代文学中对海洋间接的、想象式书写，转变到以身亲涉鲸波的海洋实践式书写，进而打开了中国古代文学海洋诗歌书写的新局面；另一方面，诗文中异域怀归、异域守护与“尚时”写作等为中国古代文学研究增添了新的内容与题材；还有，赴日僧通过尚时写作，把宋元禅林盛行的道号颂写作传播到日本五山汉文学中，留下数量庞大的道号颂作品，成为中日禅林文学交流的具象存在。

在诗学思想方面，兰溪道隆、兀庵普宁等早期的赴日僧处在五山禅林初创期，他们对“参禅”与“学文”的认识，归根结底是“孰本孰末”的问题。不过，即使在禅林文学初创期，以兰溪为代表的赴日僧们也并未完全否认“风月之句”的作用。无学祖元、镜堂觉圆、一山一宁等人生活于日本禅林文学兴隆期，随着日本禅林文学的发展，这一时期的赴日僧无论是诗文创作的数量，还是诗文创作的热情，都进一步提升。他们开始把宋元诗学观点与诗学思想等介绍到日本禅林，并进一步给予日本禅僧在文学创作上的具体指导。稍后的清拙正澄、明极楚俊与竺仙梵仙等禅僧，更加详细地阐释了“巧拙”“醇厚”“夺胎换骨”等诗学思想，积极地运用诗学理论对禅林诗文展开评鉴，为日本禅僧创作的诗文集撰写序跋文，极大地丰富了五山禅僧诗文创作题材。在他们的推动下，日本禅林文学走向繁盛。

宋元赴日僧的诗文在日本的广泛传播还影响了五山诗文总集的编撰。通过考察可知，赴日僧诗文被选入日本编撰的诗文总集中，先后经历了“被编入总集——逐渐被排除在外——又重新被编入”的过程。义堂周信编撰的《贞和集》大量辑录赴日僧诗文，以无学祖元、清拙正澄为代表的赴日僧成为入集僧诗最多的禅僧之一，但随着五山禅林后期禅僧对世俗诗文的关注，赴日僧诗文逐渐被排除在了诗文总集、选集之外，通过对五山文学后期诗文总集、选集的考察，发现仅有《翰林五凤集》辑录两首之外，其余皆不见其踪迹。近代以来，随着日本五山文学研究的兴起，宋元赴日僧诗文再次受到学者关注，诗文别集再次被整理、编撰入集。

综上，宋元赴日僧的诗文创作在中国文学和日本文学史上都有其独特的地位。从中日两国的文学交流来看，赴日僧指导并参与诗文，与日僧的文学交流，成为中日两国文学交流的媒介与桥梁；从日本汉文学史发展来看，他们积极融入五山禅林，创作了丰富的汉诗文，成为五山汉文学重要的创作主体，因此，可以说宋元赴日僧诗文研究具有非常重要的价值和意义。

The Chinese monks who traveled to Japan during the Song and Yuan dynasties (hereinafter referred to as Japanese-bound monks) were a unique group in the history of Sino-Japanese cultural exchange. They played a significant role in disseminating Chinese literature abroad and contributed to the development of The Gozan Bungaku (The Five Mountains Sino-literature) in Japan. The poetry and prose of these monks constitute an integral part of ancient Chinese literature and are indispensable to the study of Buddhist poetry in the Yuan Dynasty. However, due to the scarcity or loss of domestic records such as quotations and collections of poetry and prose, the academic research on those Japanese-bound monks remains insufficient, and studies on their poetry and prose are virtually nonexistent. In contrast, a substantial number of these monks’ works have been widely preserved in Japan. On the one hand, scholars can study these monks’ literary creation, poetic thoughts, and transmission of their works in Japan through these documents. On the other hand, based on the diary-like characteristics of these Zen poetry and prose, they offer insights into the daily lives of Japanese-bound monks in Japan and enable an exploration of Sino-Japanese cultural exchange from the perspective of material.

During the nearly hundred years from the mid-13th and mid-14th centuries, approximately thirty Buddhist monks who traveled to Japan were documented in historical records, with twelve leaving behind recorded quotations or poetry and prose collections. Based on the verification of these twelve Japanese-bound monks, this research paper centers on the existing mountain-dwelling quotations and collections of poetry and prose, and conducts a comprehensive investigation from multiple perspectives, such as poetry versions, poetic creation, thematic contents, poetic thoughts, and modes of dissemination.

Many of the Japanese-bound monks’ quotations and poetry and prose collections had been compiled and published before their departure for Japan, but unfortunately, few traces of these survive in Chinese literature. Surveys of these existing poetry and prose collections in Japan reveal that their poetry and prose compiled in Chinese Zen temples before their travels were repeatedly reprinted and copied in Japan after they were spread there, gaining widespread readership and circulation within Japanese Zen temples. Furthermore, these Japanese-bound monks continued producing a lot literature after their arriving in Japan, leaving behind a wealth of works that were also widely published and circulated. The preservation of these monks’ literature in Japan is remarkably intact, with diverse textual formats reflecting Japanese reverence for these materials. Moreover, numerous collections of mountain-dwelling quotations of these monks were published in Japan. For monks without their standalone poetry or prose collections, their literature works, quotations, sermons, rituals, and so on survive through mountain-dwelling quotations.

    A comprehensive analysis of these Japanese-bound monks’ poetry and prose collections reveals rich diversity in their creations: gatha and poetry and prose with strong religious connotations, literature exchanges with secular figures such as medieval nobles and samurais, and the most distinctive literary feature is those personal writings documenting their life experiences and emotions. It is evident that the poetry and prose of those Japanese-bound monks encompass rich ideological contents.

In terms of poetic thought, such Japanese-bound monks as Rankei Doryu and Gottan Hunei, lived during the formative period of Five Mountains Zen Temples. Their understanding of “Zen meditation” (can chan) versus “literary study” (xue wen) ultimately boils down to the question of “what is the essence and what is trivia.” Even in the early stage of Zen literary development, however, monks like Rankei did not completely deny the value of “poetic expressions of natural beauty”. Later figures such as Mugaku Sogen, Kyodo Kakuin, and Yishan Yining lived during the flourishing period of Japanese Zen literature. With the advancement of Japanese Zen literature, these monks not only increased the quantity of their poetic output but also demonstrated greater enthusiasm for creation. They began introducing the poetic viewpoints and ideas of the Song and Yuan dynasties to Zen Buddhism in Japan, and provided further specific guidance on Japanese monks’ literary creation. Subsequent monks like Seisetsu Shocho, Minkisoshun, and Jikusen Bonsen further elaborated on literary concepts such as “skill and clumsiness”, “mellow thickness”, and “transformation and rebirth” , actively applying poetic theoretical frameworks to critique Zen literary works, and writing prefaces and postscripts for Japanese Zen poetry and prose collections. Their efforts greatly enriched the thematic diversity of Five Mountains Zen poetry and prose. Thus, Japanese Zen literature flourished under their promotion.

The widespread dissemination of Japanese-bound monks’ poetry and prose in Japan also influenced the compilation of Five Mountains’ Poetry and Prose Collection. Investigation reveals that the inclusion of these monks’ works in Japanese anthologies underwent a process of “initial inclusion -- gradual exclusion – re-inclusion.” For example, Gido Shushin’s Jowa Poetry extensively collects poems by monks like Mugaku Sogen and Seisetsu Shocho, making them among the most represented figures. However, with the increasing focus on secular poetry and writings of Japanese monks in the later period of Five Mountains Zen Temples, works by Japanese-bound monks were increasingly excluded from literature anthologies. Surveys of late-period Five Mountains Literature anthologies and compilations show that only two poems by these monks were recorded in the Kanrin Goho Collection, while others are omitted entirely. In modern times, with the rise of research on Japanese Five Mountains Literature, Japanese-bound monks’ poetry and prose has regained scholarly attention, and such collections have been sorted and compiled for publication again.

In summary, the poetry and prose creation of Japanese-bound monks occupies a unique position in both Chinese and Japanese literary history. In terms of Chinese literary development, these monks transformed the indirect and imaginative depictions of the ocean in Tang Dynasty poetry into firsthand experiences of crossing treacherous waves, pioneering a new chapter in marine poetry of ancient Chinese literature. On the other hand, their works introduced novel contents and themes such as “nostalgia for a foreign land,” “guardianship abroad,” and “timely writing”, enriching traditional Chinese literary studies. In terms of Sino-Japanese literary exchange, their guidance and collaboration with Japanese monks served as a medium and bridge for cross-cultural literary interaction; in terms of the history of Japanese Sino-literature, their active integration into Five Mountains Zen Temples and prolific production of Chinese poetry and prose solidified their role as vital creators to Five Mountains Sino-literature.